Andrew Khoo, the restaurant’s manager, said although they named the new restaurant after Shabu-shabu, a Japanese style of dining, yet Top Shabu’s hot pot style is traditionally more Chinese.
Customers will order a “hot pot” and whatever meats and vegetables they would like to eat, which servers will bring to the table. Customers will then cook the food using the hot pot, a metal container filled with broth and heated by an electric coil, and eat their food at their table. In hot pots, the food is cooked while the pot simmers. Thinly sliced beef is the traditional choice, Khoo said, but Top Shabu will offer a variety of meat and vegetable options.
“All food is cooked at the table,” Khoo said.
According to Khoo, Top Shabu’s bar will offer Asian-inspired drinks.
“We have a 10 tap system from the previous owner,” Khoo said. “We’ll also have a variety of wine and a large variety of liquor for unique mixed drinks. The mixed drinks will have an Asian influence. For example, melon liqueur is used a lot in China.”
The Drop Box tells the story of South Korean pastor Lee Jong-rak and his heroic efforts to embrace and protect the most vulnerable members of society. It is a heart-wrenching exploration of the physical, emotional and financial toll associated with providing refuge to orphans that would otherwise be abandoned on the streets. But The Drop Box movie is also a story of hope—a reminder that every human life is sacred and worthy of love.The Drop Box will run at 7:00 pm on the 3rd, 4th, and 5th. Tickets are available at the Cinemark website. The theater is located at the McCandless Crossing shopping center on McKnight Road (map), roughly 10 miles north of the city.
A young man preparing for an exam to work for a broadcasting company starts to work as an intern and a junior government employee. He is only there to make some money before finding a real job, but when his boss tells him that he wants to hire him full-time, he is tempted. After going through the interview and getting congratulated from others in the office, he is shocked that the full-time position is in fact given to someone else. An older co-worker tells him that it was a set-up, and the young man decides to fight the decision. The fight for justice is not as easy as his co-worker says. The film cruelly looks on as the man stoops lower and lower, from an intern loved by both co-workers and managers, to a disgruntled employee. He is at a crossroads. Should he stay a good, social employee, or start anew as a straggler?And the Toronto International Film Festival profiles I Am Here, which plays on March 27 at 7:15 pm:
Every week, millions of viewers tune in to China's most popular singing competition, Super Boy. Tens of thousands of aspiring male singers audition every year for this prestigious talent show, but only ten make it into the months-long competition. Fan Lixin's documentary I Am Here immerses us in the finalists' gruelling, adrenalizing experience, even as it raises provocative questions about the social context of such a phenomenon.The festival will run from March 19 through 28, and April 8 through 11. Ticketing information and a complete schedule is available on the festival's website.
The world of these young performers is a glossy fantasy, all-consuming and almost too good to be true. Overnight they've been elevated to demigod status, and are now recognized everywhere they go by herds of screaming teenagers. This fame comes at the cost of their identity; vocal coaches, dance teachers, and tyrannical producers exploit easily digestible aspects of the young men's personalities and backgrounds, grooming them in the images of archetypes that audiences can root for. But in a scenario where there can be only one winner, the boys band together, attaining a mutual harmony that extends beyond the singing contest.
Join Japanese Student Association at CMU for Japanese mahjong, go, and other traditional games!The event starts from 4:30 pm in 5415 Wean Hall (campus map).
There will be people who will happily teach you how to play any of the games -- and we'll have information slips on how to play!
Previous research has examined cross-linguistic importance of phonological and morphological awareness in Chinese and English word recognition, yet few studies have focused on the earlier, pre-lexical aspects of character recognition and evaluated why orthographic awareness is central to Chinese literacy development. Comparing spread of lexical activation between orthographic, phonologic and semantic stores in English and Chinese reading have helped to specify the lexical pathways underlying character decoding and reading comprehension as part of word recognition. The visual orthographic complexity and coarse form-form mappings of the logographic character system, considered in conjunction with the observations of the Lexical Constituency Model and other reading research, suggests that Chinese pre-lexical processing is exclusively orthographic and threshold-based. Sub-character radicals are decomposed sub-lexical (but not “pre-lexical”) representations and are utilized in unfamiliar reading (based on radical frequency and regularity,The talk is held in room 4217 Posvar Hall (campus map) from 11:00 am and is free and open to the public.
and other factors). Radical parts are only accessed after orthographic lexical representations are already assembled, meaning their access involves top-down morpho-orthographic decomposition. The first study proposal uses two character recognition training tasks to examine the pre-lexical processing pathway that leads to the perceptual assembly of lexical orthographic representations. Beginning with the basic premise that the semantic cues provided by radical parts also contribute to reading of unfamiliar graphic forms, additional studies are proposed comparing the relevance of visual, orthographic and semantic salience of character components in pseudocharacter recall. It is anticipated that graphic and semantic salience of radicals will have independent and additive
effects on recall of unfamiliar forms and both may be able to be incorporated into L2 pedagogies.
